DOCSLIB.ORG

Tocando Imagens – Dispositivos E Técnicas Da Visual Music

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Tocando Imagens – Dispositivos E Técnicas Da Visual Music UNIVERSIDADE FEDERAL DE MINAS GERAIS ESCOLA DE BELAS ARTES Henrique Roscoe Correa Pinto Tocando Imagens – Dispositivos e Técnicas da Visual Music Belo Horizonte 2019 Henrique Roscoe Correa Pinto Tocando Imagens – Dispositivos e Técnicas da Visual Music Dissertação apresentada ao Programa de Pós- Graduação em Artes da Escola de Belas Artes da Universidade Federal de Minas Gerais, como requisito parcial à obtenção do título de Mestre em Artes. Área de Concentração: Artes Linha de Pesquisa: Poéticas Tecnológicas Orientador: Jalver Machado Bethônico Belo Horizonte 2019 AGRADECIMENTOS Agradeço primeiramente ao meu orientador, Jalver Machado Bethônico, pelas conversas, ensinamentos e ajuda para a realização deste trabalho. Agradeço à Danielle Curi, minha esposa e amiga, que me ajudou nos momentos difíceis de produção deste projeto, assim como em todos os momentos complicados da minha vida. Aos meus pais, irmãos e irmã, agradeço pela contribuição para a minha formação, que me permitiu chegar até aqui. Agradeço aos amigos com os quais troquei informações importantes, que me auxiliaram no desenvolvimento desta pesquisa, assim como na minha formação artística e profissional: Fabiano Fonseca, Patrícia Moran, Caio Fazolin, Fernando Velázquez, Luiz Duva, VJ Spetto, Sonia Labouriau, Marcus Bastos, Gabriel Menotti, Lucas Bambozzi, Guilherme Pedreiro, Carlos Marinho. Aos professores Carlos Falci, Sérgio Basbaum e Marília Bergamo agradeço o aceite do convite para participar da banca de defesa da dissertação e da qualificação, colaborando com suas pontuações e experiência para o aprimoramento deste projeto. Um especial agradecimento a todos os artistas e inventores da Visual Music, que são o foco desta pesquisa e foram fundamentais na construção de minha carreira artística, servindo de inspiração por meio de suas obras, escritos e vida pessoal. Obrigado! RESUMO A pesquisa trata das diversas ferramentas tecnológicas utilizadas por artistas para criar e executar trabalhos de Visual Music desde os primeiros experimentos com Color Organs no século XVIII até a produção contemporânea, mostrando de que maneira estes instrumentos interferem no resultado artístico final. O objetivo do projeto é mostrar como cada instrumento acaba guiando a criação artística, seja por suas possibilidades, seja por suas limitações. Utilizando exemplos de trabalhos nessa área, realizados principalmente nos séculos XX e XXI, pretendemos mostrar a diversidade da produção e sua influência direta no resultado criado pelos artistas. No estudo de casos, artistas fundamentais dentro desta área foram cuidadosamente escolhidos e analisados a fim de entender de que forma os instrumentos por eles inventados concretizaram suas aspirações conceituais, ampliando seu potencial artístico e servindo de inspiração para as gerações posteriores. A pesquisa envolve ainda uma delimitação do conceito de Visual Music, sua gramática e influência sobre outros gêneros do audiovisual, apresentando possíveis desdobramentos de seus princípios. A pesquisa é embasada principalmente nos conceitos de Gilbert Simondon a respeito dos objetos técnicos, e de Wassily Kandinsky sobre os possíveis modos de relação entre som e imagem, entre outros importantes autores da área. Palavras-chave Visual Music, Instrumentos, Audiovisual, Objeto Técnico, Fischinger, Wilfred, Joshua Light Show. ABSTRACT The research deals with many technological tools used by artists to create and execute works of Visual Music from the first experiments with Color Organs in the eighteenth century until the contemporary production, showing how these instruments interfere in the final artistic result. The objective of the project is to show how each instrument ends up guiding the artistic creation, either by its possibilities or by its limitations. Using examples of works in this area carried out mainly in the 20th and 21st centuries, we intend to show the diversity of production and its direct influence on the result created by the artists. In the cases study, key artists within this area were carefully chosen and analyzed in order to understand how the instruments they invented fulfilled their conceptual aspirations, expanding their artistic potential and serving as inspiration for later generations. The research also involves a delimitation of the concept of Visual Music, its grammar and influence on other genres of audiovisual, presenting possible unfolding of its principles. The research is based mainly on the concepts of Gilbert Simondon on technical objects, and Wassily Kandinsky on the possible modes of relation between sound and image, among other important authors of the area. Keywords Visual Music, Instruments, Audiovisual, Technical Object, Fischinger, Wilfred, Joshua Light Show. LISTA DE FIGURAS Figura 1 - Color Organ de Rimington ...………………………………….……………....…..29 Figura 2 - Correspondências entre cores e notas musicais ...……………….……..…...…….32 Figura 3 - Thomas Wilfred e seu “Clavilux” ...……………………………..……....……….33 Figura 4 - “Piano Optophonique”, de Vladimir Baranoff Rossin (1924) …..…….………...35 Figura 5 - “Growth of the night plants”, Paul Klee (1922) ...…………………….…...…….38 Figura 6 – Zootropio (1889) ...……………………………………………………………….40 Figura 7 - Frame do filme “Begone Dull Care”, de Norman Mclaren (1949) ….....….…….43 Figura 8 - “Subsonic Sound Instrument”, instrumento de John e James Whitney (1944) …..45 Figura 9 - Joshua Light show fazendo as projeções para show de Frank Zappa …….......…..47 Figura 10 - Performance audiovisual “Seismik”, de Herman Kolgen (2014) …………...…..58 Figura 11 - “TV Magnet”, de Naum June Paik (1965) …………………………………..…..61 Figura 12 - Aplicativo criado para o álbum “Biophilia”, da cantora Björk (2011) …...….....63 Figura 13 - “Objeto cinético CK-8”, de Abraham Palatnik (1966) ………………….….…...64 Figura 14 - Le Corbusier, “Poème Électronique” (1958) ...…………………………….…...66 Figura15 - Fortunato Depero, “Skyscrapers and Tunnels” (1930) ...……………………….94 Figura 16 - “The Bride Stripped Bare by Her Bachelors, Even”, de Duchamp (1915) …......96 Figura 17 - Jean Tinguely, “Méta-Matic No10” (1959) ...……………………….….….…...98 Figura 18 - Thomas Wilfred, “Lumia Suite, Opus 158” ...……………………….…….…..106 Figura 19 - Thomas Wilfred e seu “Clavilux Model E” ………………………….….……..109 Figura 20 - Thomas Wilfred e um modelo do “Clavilux Jr” …………………….………...111 Figura 21 - Thomas Wilfred, “Study in Depth, Op. 152”, (1959) ………………….…..…..114 Figura 22 - Frame do filme “Studie No5”, de Fischinger ...………………...……….….….117 Figura 23 - “Wax Slicing Machine” ...………………...………………………….…….…..120 Figura 24 - Imagem produzida pela “Wax Slicing Machine” ...………………………...….122 Figura 25 - “Ornament sound” ...……………………………….…………………….…....123 Figura 26 - Patente do “Lumigraph” (1955) ...…………………………………………….125 Figura 27 - James compondo no instrumento composto por pêndulos ...…….………..…...132 Figura 28 - Painel do “M5 gun controller” ...………………………..………………..…...134 Figura 29 - Frame do filme “Lapis” (1966) ...………………………………………...…...135 Figura 30 - Ilustração dos harmônicos produzidos pela “Dinâmica Diferencial” e sua relação com as notas da escala musical ...……………………………………………………….….138 Figura 31 - John Whitney com seu computador analógico ...………………….…………...143 Figura 32 - exemplo de imagem utilizando líquidos e retroprojetor ...………….………….147 Figura 33 - Performance ao vivo do Joshua Light Show ...………………………………...150 Figura 34 - Setup do coletivo Joshua Light Show em 1969 ...………………………….….151 Figura 35 - “Light Stick”, dispositivo inventado pelo coletivo ..…………………………..152 Figura 36 - Plataforma dedicada ao Lumia ...………………………………………………154 Figura 37 - Capa e página interna do “Unique Lighting Handbook”, catálogo da Edmund Scientific (1969) ...………………………………………………………………………….156 Figura 38 - Performance audiovisual “Test Pattern” (2008) ...……………………….…...164 Figura 39 - “Data.path”, instalação audiovisual (2013) ...……………………………..….165 Figura 40 - Caspar David Friedrich "Wanderer above the Sea of Fog" (1818) ...……...…..166 Figura 41 - “The transcendental (π) [nº1-a]” (2012) ...………………...………………….167 Figura 42 - “Datamatics”, concerto audiovisual (2006) ……………………….…………..171 Figura 43 - “Superposition”, performance (2012) ……………………………………...….173 Figura 44 - Performance “Synap.sys”. Festival Sonica, Escócia (2015) ………….………..177 Figura 45 - Performance “degelo” (2015) ………………………………………….…...….179 Figura 46 - Interface construída para a performance “Aufhebung” (2009) ...……….……..184 Figura 47 - Instrumento PONTO (2011) ……………………………………………….......185 Figura 48 - “PONTO, um videogame sem vencedor” no Festival Robot. Itália, 2011 ….....186 Figura 49 - Figura 48 – Performance “Synap.sys”. Festival Sonica, Escócia (2015) ….......188 Figura 50 - Instrumento “Synap.sys” (2014) …………………………………………..…..189 SUMÁRIO INTRODUÇÃO ………………………………………………………………………..…….8 CAPÍTULO 1 – Visual Music: definição, conceitos e derivações ………...………..…….15 1.1 Em busca de uma definição da Visual Music …………………....………….……...…..15 1.2 História da Visual Music ………………………………………………..……....……...27 1.3 Desdobramentos e Gêneros ……………………………….………….……….....……..52 CAPÍTULO 2 – Objeto Técnico e Invenção ………………………….………….….…….67 2.1 Introdução ………………..……………………………………………….……….……..67 2.2 Gênese e Evolução dos Dispositivos Técnicos ………….…………………....….……...68 2.3 A essência da Tecnicidade em Simondon …………………………………...…..….…..80 2.4 Invenção ……………………………………………………………………...….……...85 2.5 Definições e Categorias da Arte Maquínima ……………………………….…....……..91 CAPÍTULO 3 – Estudo de Casos ……………………………...………………...….…….103 3.1 Thomas Wilfred ……………………………………………………………....…..…..104
Load more

Recommended publications
  • The Expanded Image: on the Musicalization of the Visual Arts in the Twentieth Century Sandra Naumann
    The Expanded Image: On the Musicalization of the Visual Arts in the Twentieth Century Sandra Naumann Sandra Naumann, The Expanded Image: On the Musicalization of the Visual Arts in the Twentieth Century, in: Dieter Daniels, Sandra Naumann (eds.), Audiovisuology, A Reader, Vol. 1: Compendium, Vol. 2: Essays, Verlag Walther König, Köln 2015, pp. 504-533. 505 Exposition Until well into the nineteenth century, the experience of audiovisual arts was bound to a unity of space and time (and action, too, in a certain sense). The technical media of photography, gramophone recording, silent film, talking film, and video made it possible to reproduce sounds and images, but they also separated them only to slowly reunite them again. These media evolved from devices used purely for storage and reproduction into performative instru- ments for creating new forms of audiovisual experience in real time, a process reinforced through numerous efforts to synthesize or expand the arts by incor- porating or transferring concepts and techniques from different art forms. Thus, musical theories and techniques were adopted to explain developments in the visual arts, and vice versa. Against this general background, this essay aims to identify strategies which the visual arts borrowed from music while changing and expanding compul- sively during the twentieth century. The focus will not be on image/sound com- binations, although sound does often play a part in the works that will be dis- cussed in the following. Instead, this text will deal with the musicalization of the image in a broader sense. These endeavors first culminated in the 1910s and 1920s, then again in the 1960s and 1970s, and for the third time from the 1990s until today.
    [Show full text]
  • The Emergence of Abstract Film in America Was Organized by Synchronization with a Musical Accompaniment
    EmergenceFilmFilmFilmArchiveinArchivesAmerica, The Abstract Harvard Anthology Table of Contents "Legacy Alive: An Introduction" by Bruce Posner . ... ... ... ... ..... ... ... ... ... ............ ....... ... ... ... ... .... .2 "Articulated Light: An Appendix" by Gerald O'Grady .. ... ... ...... ... ... ... ... ... ... ... ...... ... ... ... ... ... .... .3 "Cinema as a An Form: Avant-Garde " Experimentation " Abstraction" by Vlada Petric .. ... 3 "A New RealismThe Object" by Fernand Leger ... ........ ... ... ... ...... ........ ... ... ... ... .... ... .......... .4 "True Creation" by Oskar Fischinger .. ..... ... ... ... ... .. ...... ... ....... ... ........... ... ... ... ... ... ....... ... ........4 "Observable Forces" by Harry Smith . ... ... ... ... ... ... ...... ... ... ... ... ......... ... ... ... .......... ...... ... ... ... ......5 "Images of Nowhere" by Raul Ruiz ......... ... ... ........ ... ... ... ... ... ...... ... ... ... ... ... ...... ... ... .... ... ... ... 5 `TIME. .. on dit: Having Declared a Belief in God" by Stan Brakhage ..... ...... ............. ... ... ... .. 6 "Hilla Rebay and the Guggenheim Nexus" by Cecile Starr ..... ... ...... ............ ... ... ... ... ... ... ... ...7 Mary Ellen Bute by Cecile Starr .. ... ... ... ... ...... ... ... ... ... ... ............ ... ...... ... ... ... ... ... ...... ... .............8 James Whitney studying water currents for Wu Ming (1973) Statement I by Mary Ellen Bute ... ... ... ... ... ... ... ... ... ... ... ...... ...... ... ... ...... ... ... ... ... ..
    [Show full text]
  • Opticality and the Work of Morris Louis (1912-1962)
    CHAPTER 1 SITUATING MORRIS LOUIS 1912–1962 SITUATING MORRIS LOUIS 1912–1962 Although the work of the Washington–based artist Morris Louis (1912–62) is now discussed alongside some of the most well–known of the American abstract artists of the mid–twentieth century, much of Louis’ mature work, and arguably his most refined, was produced outside of public knowledge. For the majority of Louis’ career his work existed in relative obscurity, particularly in comparison with his contemporaries, artists such as Jackson Pollock (1912–56), Mark Rothko (1903–70) and Clyfford Still (1904–80). Being amongst the first generation of abstract artists in the United States, the newness of his abstract painting depended upon the endorsement of major critics for public appreciation.1 The critical recognition of Louis’ work emerged only with the support of Clement Greenberg in 1960, almost 30 years after he began working as an artist and only two years before his death. The timing of Greenberg’s writing positioned Louis amongst a new generation of artists including Frank Stella (1936 – ), Kenneth Noland (1924 –) and Jules Olitski (1922 –). Audiences were only beginning to appreciate Louis’ work as he entered the last phase of his career, and as such, the representation of Louis’ work only addressed a small period of his career. The limited exposure of Louis’ paintings prior to the early 1960s had major effects upon how his works were interpreted in the decades following his death. Many retrospectives and group exhibitions of Louis’ work came to relate his paintings to the work of younger artists engaging with ‘Colourfield’ abstraction.
    [Show full text]
  • Tina Rivers Ryan
    McLuhan’s Bulbs: Light Art and the Dawn of New Media Tina Rivers Ryan Submitted in partial fulfillment of the requirements for the degree of Doctor in Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2016 © 2016 Tina Rivers Ryan All rights reserved ABSTRACT McLuhan’s Bulbs: Light Art and the Dawn of New Media Tina Rivers Ryan “McLuhan’s Bulbs” argues that the 1960s movement of “light art” is the primary site of negotiation between the discourses of “medium” and “media” in postwar art. In dialogue with the contemporaneous work of Marshall McLuhan, who privileged electric light as the ur- example of media theory, light art eschewed the traditional symbolism of light in Western art, deploying it instead as a cipher for electronic media. By embracing both these new forms of electronic media and also McLuhan’s media theory, light art ultimately becomes a limit term of the Greenbergian notion of medium-specificity, heralding the transformation of “medium” into “media” on both a technological and a theoretical level. This leads to a new understanding of the concept of media as not peripheral, but rather, central to the history and theory of contemporary art. Drawing on extensive archival research to offer the first major history of light art, the project focuses in particular on the work of leading light artist Otto Piene, whose sculptural “light ballets,” “intermedia” environments, and early video projects responded to the increasing technological blurring of media formats by bringing together sound and image, only to insist on the separation between the two. Piene’s position would be superseded by the work of light artists who used electronic transducers to technologically translate between light and other phenomena, particularly sounds.
    [Show full text]
  • Playing Images Like a Musical Instrument
    ------ - --- UNIVERSITÉ DU QUÉBEC À MONTRÉAL IMPROVISATORY LIVE VISUALS: PLAYING IMAGES LIKE A MUSICAL INSTRUMENT THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN ART STUDIES AND PRACTICES BY KATHERINE LIBEROVSKAYA SEPTEMBER 2014 UNIVERSITÉ DU QUÉBEC À MONTRÉAL Service des bibliothèques Avertissement La diffusion de cette thèse se fait dans le respect des droits de son auteur, qui a signé le formulaire Autorisation de reproduire et de diffuser un travail de recherche de cycles supérieurs (SDU-522 - Rév.01-2006). Cette autorisation stipule que «conformément à l'article 11 du Règlement no 8 des études de cycles supérieurs, [l 'auteur] concède à l'Université du Québec à Montréal une licence non exclusive d'utilisation et de publication de la totalité ou d'une partie importante de [son] travail de recherche pour des fins pédagogiques et non commerciales. Plus précisément, [l 'auteur] autorise l'Université du Québec à Montréal à reproduire, diffuser, prêter, distribuer ou vendre des copies de [son] travail de recherche à des fins non commerciales sur quelque support que ce soit, y compris l'Internet. Cette licence et cette autorisation n'entraînent pas une renonciation de [la] part [de l'auteur] à [ses) droits moraux ni à [ses] droits de propriété intellectuelle. Sauf entente contraire , [l'auteur] conserve la liberté de diffuser et de commercialiser ou non ce travail dont [il] possède un exemplaire. » -------~~------ ~ - UNIVERSITÉ DU QUÉBEC À MONTRÉAL LES VISUELS LIVE IMPROVISÉS: JOUER DES IMAGES COMME D'UN INSTRUMENT DE MUSIQUE THÈSE PRÉSENTÉE COMME EXIGENCE PARTIELLE DU DOCTORAT EN ÉTUDES ET PRATIQUES DES ARTS PAR KATHERINE LIBEROVSKAYA SEPTEMBRE 2014 ACKNOWLEDGEMENTS This doctoral thesis wou Id ne ver have been possible without the priceless direct and indirect help of a number of people.
    [Show full text]
  • The Dream of Color Music, and Machines That Made It Possible
    Animation World Magazine, Issue 2.1, April 1997 The Dream of Color Music, And Machines That Made it Possible by William Moritz Elfriede Fischinger, Barbara Fischinger and Bill Moritz at a 1996 Lumograph performance at the Goethe Institute in Los Angeles. The dream of creating a visual music comparable to auditory music found its fulfillment in animated abstract films by artists such as Oskar Fischinger, Len Lye and Norman McLaren; but long before them, many people built instruments, usually called "color organs," that would display modulated colored light in some kind of fluid fashion comparable to music. Ancient Greek philosophers, like Aristotle and Pythagoras, speculated that there must be a correlation between the musical scale and the rainbow spectrum of hues. That idea fascinated several Renaissance artists including Leonardo da Vinci (who produced elaborate spectacles for court festivals), Athanasius Kircher (the popularizer of the "Laterna Magica" projection apparatus) and Archimboldo who (in addition to his eerie optical-illusion portraits composed of hundreds of small symbolic objects) produced entertainments for the Holy Roman Emperors in Prague. The Jesuit, Father Louis Bertrand Castel, built an Ocular Harpsichord around 1730, which consisted of a 6-foot square frame above a normal harpsichord; the frame contained 60 small windows each with a different colored-glass pane and a small curtain attached by pullies to one specific key, so that each time that key would be struck, that curtain would lift briefly to show a flash of corresponding color. Enlightenment society was dazzled and fascinated by this invention, and flocked to his Paris studio for demonstrations.
    [Show full text]
  • Lumia and Visual Music
    Lumia and Visual Music USING THOMAS WILFRED’S LUMIA FACTORS TO INFORM AUDIOVISUAL COMPOSITION by Dave Payling The Clavilux, “a name derived from the Latin, meaning light played by key” (Stein 1971, 4), was a device invented by Thomas Wilfred that permitted performances with coloured light. Compared to colour organs, which commonly mapped musical pitch to the rainbow hue scale, the Clavilux had additional capabilities, allowing the form and motion of the colours to be manipulated. The three primary factors of form, colour and motion were used to create a new art form Wilfred called “lumia” (Wilfred 1947, 247). Wilfred designed and made several lumia-generating Clavilux instruments, some of which were self-operating and internally programmed, and others that could be performed in real time. The visual output of the instruments was a light projection and it was capable of creating complex visual arrangements: A typical composition contains one principal motif with one or more subordinate themes. Once chosen, they vary infinitely in shape, color, texture, and intensity. The principles evident in plastic and graphic compositions — unity, harmony, and balance — function kinetically in lumia. When movement is temporarily suspended in a lumia composition, the result is a balanced picture. However, the static picture’s ultimate meaning can only be seen in relation to what follows it. (Stein 1971, 3) YVES_____payling_wilfred-lumiafactors.png Figure 1. Thomas Wilfred’s “Graphic Equation” of the factors and sub-factors of lumia (Wilfred 1947, 254). Wilfred described lumia in detail. Form, colour and motion also had four sub-factors each, and he grouped these into a “graphic equation” (Fig.
    [Show full text]
  • 15 Americans Edited by Dorothy C
    15 Americans Edited by Dorothy C. Miller, with statements by the artists and others Author Museum of Modern Art (New York, N.Y.) Date 1952 Publisher The Museum of Modern Art: Distributed by Simon & Schuster Exhibition URL www.moma.org/calendar/exhibitions/3294 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art THE MUSEUM OF MODERN ART NEW YORK 5 x AMERICANS LIBRARY Museumof ModernArt ARCHIVE KEASERE TURNTOT HEO FFICEOF MONROE WHEELER 5 ! AMERICANS . BAZIOTES CORBETT DICKINSON FERBER GLASCO PAGES 12-14 6-7 42-44 10-1 1 33-35 KATZMAN KIESLER KRIESBERG LIPPOLD POLLOCK 38-39 8-9 36-37 7-29 2 15-17 ROSE ROTHKO STILL TOMLIN WILFRED 40-41 18-20 21-23 24-26 30-32 EDITED BY DOROTHY C. MILLER WITH STATEMENTS BY THE ARTISTS AND OTHERS 5 J AMERICANS THE MUSEUM OF MODERN ART NEW YORK ACKNOWLEDGMENTS On behalf of the Trustees of the Museum of Modern Lily van Ameringen. I also wish to thank Witten- Art, I wish to express my gratitude to the artists for born, Schultz, Inc. for permission to quote the help in assembling their work for this exhibition statement by William Baziotes published in Possi and for contributing statements for the catalog; to bilities 1 (Problems of Contemporary Art, No. 4), the collectors, museums and dealers whose gener winter 1947-48; Ruth and John Stephan for per osity in lending has made the exhibition possible mission to quote two statements by Mark Rothko and whose names appear on page 45.
    [Show full text]
  • Thomas Wilfred and Intermedia: Seeking a Framework for Lumia
    Leonardo_36-1_001-098 1/24/03 9:25 AM Page 65 HISTORICAL PERSPECTIVE Thomas Wilfred and Intermedia: Seeking a Framework for Lumia ABSTRACT The most successful early- Stephen Eskilson 20th-century artist of colored light in the United States was undoubtedly Thomas Wilfred (1889–1968). In the 1920s, his “Lumia” compositions were praised by art critics and performed throughout the U.S. s the technology of electricity and illumi- ican art featured at the Exposition After initially embracing a A musical analogy to explain nation advanced in the early twentieth century, many Ameri- des arts decoratifs in Paris. Wilfred’s Lumia, in the early 1930s he can artists began to promote colored light as an aesthetic European tour also included shifted to an analogy based on language capable of eclipsing other established media. Artists recitals in London and a command painting. In pursuit of this new including Van Deering Perrine, G.A. Shook, Mary Hallock- performance at the Royal Opera context, Wilfred sought to legitimize Lumia through a Greenwalt, Claude Bragdon and Matthew Luckiesh all sought House in Copenhagen. His Ameri- relationship with the Museum of to make an art of “mobile color” or “color music.” The most can recital tours of the 1920s often Modern Art in New York. His consistently successful artist of colored light in the United drew audiences in the thousands career is emblematic of the States, though, was undoubtedly Thomas Wilfred (1889–1968). and received considerable acclaim difficulties inherent in the In the 1920s, his “Lumia” compositions were praised by art from prominent critics such as creation of art using technology early in the 20th century, years critics and performed throughout the country.
    [Show full text]
  • Material. Human. Divine. Notes on the Vertical Screen
    11. Material. Human. Divine. Notes on the Vertical Screen Noam M. Elcott Abstract Taking cues from architecture, painting, and experimental cinema, Noam Elcott maps three distinct paradigms for the format of the vertical screen. Portraiture—the erect human figure or face—may be understood as the eponymous and paradigmatic form of this vertical format. Vertical screens also align with the celluloid strips that run vertically through nearly all projectors, whose properties were interrogated by postwar avant-gardes and have taken on renewed urgency in light of celluloid’s impending obsolescence. Finally, the luminous verticality of stained glass windows helped define the Gothic order, which provided a model for avant-garde experiments in light and space for a century or more, and which have suddenly returned to centre stage in contemporary art. Elcott’s three distinct paradigms map a centuries-long encounter with vertical screens that resonate unexpectedly yet unambiguously in the present. Keywords: Format, Media Archaeology, Contemporary Art, Installation, Phantasmagoria Past prisms present Screens For Looking at Abstraction (2011-), a multi-part installation by Josiah McElheny, encapsulates the whole history of abstract cinema. Selections from the canon and margins of abstract film—projected upside-down, backwards, and in reverse—are refracted horizontally, vertically, or pris- matically across a series of mirrors and screens to form new kaleidoscopic configurations. (Figure 11.1) These visual symphonies immediately conjure the iridescent images produced on Sir David Brewster’s kaleidoscope Buckley, C., R. Campe, F. Casetti (eds.), Screen Genealogies. From Optical Device to Environmental Medium. Amsterdam: Amsterdam University Press, 2019 doi 10.5117/9789463729000_ch11 294 NOAM M.
    [Show full text]
  • 1 Survey-Dada
    A&EMSURVEY.qxd 1/10/08 17:51 Page 4 Phaidon Press Limited Regent's Wharf All Saints Street London N1 9PA Phaidon Press Inc. ART AND ELECTRONIC 180 Varick Street New York, NY 10014 www.phaidon.com First published 2009 © 2009 Phaidon Press Limited All works © the artists or the estates of MEDIA the artists unless otherwise stated. ISBN: 0 7148 4782 8 A CIP catalogue record of this book is available from the British Library. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the written permission of Phaidon Press. Designed by Hoop Design Printed in Hong Kong cover, Ben Rubin and Mark Hansen Listening Post 2001–03 inside flap, James Turrell Catso, Red, 1967, 1994 pages 2–3 Robert Rauschenberg with Billy Klüver Soundings 1968 page 4 Charlotte Moorman and Nam June Paik TV Bra 1975 back cover and spine, interior page, Tanaka Atsuko Electric Dress 1957 EDITED BY EDWARD A. SHANKEN A&EMSURVEY.qxd 1/10/08 17:51 Page 6 CHARGED ENVIRONMENTS page 96 PREFACE EDWARD A. DOCUMENTS page 190 WORKS page 54 LE CORBUSIER, Iannis XENAKIS, Edgard VARÈSE Philips Pavilion, 1958 page 97 Carolee SCHNEEMANN with E.A.T. Snows, 1967 page 98 John CAGE Imaginary Landscape No. 4 (1951), 1951 page 99 SHANKEN page 10 MOTION, DURATION, ILLUMINATION MOTION, DURATION, ILLUMINATION PULSA Boston Public Gardens Demonstration, 1968 page 100 Frank GILLETTE and Ira SCHNEIDER Wipe Cycle, 1968 page 100 page 55 Robert RAUSCHENBERG with Billy KLÜVER Soundings, 1968 page 100 László MOHOLY-NAGY Light-Space Modulator, 1923–30 page 55 page 193 Wolf VOSTELL and Peter SAAGE Electronic Dé-Coll/age Happening Room (Homage à Dürer), 1968 page 101 Naum GABO Kinetic Construction (Standing Wave), 1919–20 page 56 Ted VICTORIA Solar Audio Window Transmission, 1969–70 page 102 Thomas WILFRED Opus 161, 1965–6 page 57 Wen-Ying TSAI with Frank T.
    [Show full text]
  • Visual Music Masters Adriano Abbado
    Visual Music Masters Adriano Abbado Visual Music Masters Abstract Explorations: History and Contemporary Research Contents Cover The author wishes to thank: 7 Introduction Bret Battey Luciana Abbado Pestalozza and Clonal Colonies, detail, Paolo Martelli for their invaluable I. History 2011 support; Costanza Tessarolo and Marcello Abbado for their 10 1 The Beginnings Design suggestions; Melinda Mele for 18 2 Music and Early Twentieth-Century Painting Marcello Francone her review of the original Italian 28 3 Luminous Instruments Copy Editor text; Emmanuel Gallina, 42 4 Abstract Films Maria Conconi Elisabetta Minonne, Rembert 66 5 Music and Abstract Art Layout Noppe, the Prometheus Centre, Anna Cattaneo Andreas Seegatz and Dagmar 76 6 Electronic Art Trinks for their help regarding Iconographic Research Paola Lamanna foreign language issues. II. Contemporary Developments Thank you also to the publisher Translation 90 7 Animations and Videos Skira and to all the artists and Melinda Mele 106 8 Installations organizations that have kindly contributed to the making of this 124 9 Performances book. 136 10 Language All rights reserved under international copyright Appendix conventions. No part of this book may be reproduced or utilized 142 Synesthesia in any form or by any means, electronic or mechanical, References including photocopying, 150 Bibliography recording, or any information storage and retrieval system, 156 Websites without permission in writing 168 Index of Names from the publisher. 175 Photo credits © Giacomo Balla, Vladimir Baranoff-Rossiné, Hans Richter, Leopold Survage, Jean Tinguely, by SIAE 2017 © Antonella Vigliani Bragaglia, by SIAE 2017 © Succession Marcel Duchamp, by SIAE 2017 © Man Ray Trust, by SIAE 2017 © 2017 Skira editore, Milano First published in Italy in 2017 by Skira Editore S.p.A.
    [Show full text]